'Bom' an explosive metaphor for the times<\/p>\n
By Kartika Bagus C.<\/p>\n
SURAKARTA, Central Java (JP): The chilling words rang out in
\nthe closing scene of a recent performance by Kelompok Tonil
\nKlosed (Kloearga Sedjahtera).<\/p>\n
\"Bombs everywhere: at churches, in the markets, in schools and
\neven in the President's mouth.\"<\/p>\n
Bom (Bom), performed at the arena theater at Taman Budaya
\nSurakarta with a simple stage setting, successfully kept the
\naudience enthralled.<\/p>\n
It was a tale of the times, a reflection not only on the
\nterrible fear and destruction wrought by the mysterious bomb
\nblasts in Jakarta, Medan and other cities during the past year,
\nbut also the societal ills which have provided fertile ground for
\nevil to prosper.<\/p>\n
It told of how the truth can be manipulated, when forces
\n(\"certain parties\" in newspeak) create situations to keep the
\npublic ignorant of the terrible deeds being committed around
\nthem.<\/p>\n
The performance began with a report from headquarters that the
\nenemy would shortly attack the country and the population was
\ntherefore told to be prepared. The headquarters also sent a
\ncommander to train the locals, who were known to nurture a high
\nsense of nationalism and were therefore prepared to serve as war
\nvolunteers.<\/p>\n
The locals were trained day and night to be capable soldiers.
\nMeanwhile, the wives of the volunteer soldiers enthusiastically
\ntook part in the preparations for war by making food for their
\nhusbands and washing their uniforms.<\/p>\n
Their enthusiasm fanned an extraordinarily strong, almost
\njingoistic nationalism. Merrily and seemingly without any burden,
\nthey took up the training to turn them into professional
\nsoldiers.<\/p>\n
Thanks to the highly disciplined commander, the subordinates
\nparticipated in several mock battles intended to make them really
\nready for the real fight. Locals who used to be able only to till
\nthe land now had the courage -- some would say callousness -- to
\ntake someone's life.<\/p>\n
After two years went by, the locals began to show signs of
\nboredom because the enemy had not yet arrived. What was worse,
\nthey no longer received reports from the central headquarters.
\nThey became jittery and worried, while their wives began to feel
\nexasperated as their husbands, due to their great fatigue, no
\nlonger paid any attention to the family.<\/p>\n
As a result, small-scale rebellions occurred. The commander
\nwas at a loss what to do in order to quell the rebellions. A
\nmeeting of the commanders was held at the central government and
\nthey came up with a surprising decision: the bomb issue had been
\nspecially cooked up to quell the rebellions because the enemy had
\nalready infiltrated the locals, who were then required to be on
\nthe alert.<\/p>\n
The performance that night was laden with satire about the
\ncondition of the Indonesian people: narrow-minded nationalism,
\nsoldiers losing legitimacy in the eyes of the public and the
\ndisordered condition of this nation.<\/p>\n
But as everything was delivered in a fresh comic way, the
\nsatire hit home without necessarily being too prominent
\nthroughout the performance.<\/p>\n
The circular arena was packed and the audience did not leave
\ntheir seats until the two-hour performance ended.<\/p>\n
The Tonil Group was established on April 20, 1998, and its Bom
\nperformance successfully highlighted the talents of its members
\nlike Udin UPW, Cristian, Tri Komando, RSW Lawu, S. Subagyo and
\nSosiawan Leak. All of them contributed fresh improvisation during
\nthe performance.<\/p>\n
Bom was adapted from Perang (War), a play manuscript by
\nPuntung CM Pudjadi reflecting the present condition of the
\ncountry, said Sosiawan Leak, the director and actor in this
\nperformance. He added that it had been staged twice earlier, at
\nthe auditorium of UMS and in the context of the Cuk Durasim
\nFestival in Surabaya in October 2000.<\/p>\n
\"In principle, the Tonil Group will always seek to bring the
\ntheater closer to the public,\" he said. \"That is why its
\nperformances have taken place in a number of public places such
\nas terminals, railway stations, orphanages, jails, night bazaars
\nand rural fields.\"<\/p>\n
With this approach, Sosiawan said, Klosed tends to cater to
\nthe needs of the public.<\/p>\n
\"We don't wish to complicate our message in a struggle for
\nsymbolism. Instead, we've utilized theater materials and
\ninstruments which are highly familiar to the public.<\/p>",
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